Happens IN CLASS this week. Over and out.
![](https://s3.ap-southeast-2.amazonaws.com/au.files.campus.edublogs.org/mediafactory.org.au/dist/avatars/user/e4d/user-5-48.jpg?eb=6769121d9b49a)
Happens IN CLASS this week. Over and out.
A Cartography of Iconic Memory.
Exquisite project being developed by Morgan Tams. Click the “view the film” link to see the Korsakow film that is under development by Morgan. It’s expected to be finished by the end of this week.
This is one of the reflective scale lists produced in the classes. The reflective scales are part of the documentation package for the final film.
This is a check list of what you need to get the bonus’ on offer for the final project:
PROJECT DOCUMENTATION BONUS CHECKLIST
All of these must be included, on paper, to receive the documentation bonus.
PROTOTYPE PRESENTATION BONUS
Remember for your first, individual, K-films you used a FTP program to upload them to themediastudents.net web server? For the final projects you do the same thing, but the location is slightly different. When you log in to the server using FTP please go to the im1 folder, and inside that open the projects folder (not the 2014 folder you used for your individual projects). This is where your projects go.
The reading is:
Dovey, Jon, and Mandy Rose. “We’re Happy and We Know It: Documentary, Data, Montage.” Studies in Documentary Film 6.2 (2012): 159–173. You’ll find copies of at the University of West England eprint repository.
This essay is from the same journal issue as the very first reading from Aston and Gaudenzi. This journal appeared in 2012 and is one of the very first collections dealing specifically with interactive documentary. Dovey has done research in hypertext, games, cinema, video, and interactive documentary. Rose is a former film maker/producer who know works between academic projects around interactive documentary while also being a production consultant/producer of interactive documentaries in the United Kingdom.
To get the 5% bonus for project documentation you need to submit (on dead tree, aka paper):
The final work needs to only use material that you the have rights to use. This is because the work will be published online (and no, the fact it is for education doesn’t mean you get an out, that only applies if the work is not published). If you want to use music then you need to make sure you’re allowed to. Creative commons licences are usually the simplest way to do this. Creative commons does not equal free to use though. All it means is that the rights are declared in advance, without needing to ask, unlike traditional copyright. It is perfectly possible to have creative commons licenced work that excludes any reuse. (A very good intro is this YouTube clip, and here is an outline of the different licences.
These are only accessible if you are logged in to Google under your RMIT identity.
A bedraggled, illness ridden week. We have carry over questions:
And we also have:
Apologies for the lag. This is the reading to be done for the coming week (week 10). It is online only, and is Will Luer’s chapter in the Database Narrative Archive anthology. (This anthology has just been put on the reading list for a new interactive documentary course at MIT.) The chapter is readily available online, and is called “Plotting the Database“.
Luers, Will. “Plotting the Database.” Database | Narrative | Archive: Seven Interactive Essays on Digital Nonlinear Storytelling. Ed. Matt Soar and Monika Gagnon. N. p., 2013. Web.
Kate Nash, who’s work we read earlier in the semester, has a post at her new university (she was a keynote at this year’s i-Docs conference, one of the major international events dedicated to interactive documentary for makers and thinkers).